Later he worked as regular on Star Trek: Enterprise, designing starships, space stations and more. The design work he has done on Star Trek (2009), has earned him an ADG Excellence in Production Design Awards nomination in the following year. As of 2012, Eaves was working in the same capacity on the twelfth installment of the movie series.

In the latter half of 1989, Eaves worked for Greg Jein–with whom he struck up an enduring friendship–, and, apart from The Final Frontier, has worked for his company on The Hunt for Red October (1990, with Ron Gress, Alan McFarland, and Bruce MacRae). Still a relatively newcomer at that time, Eaves later expressed gratitude for Jein, who took Eaves under his wings, during the production of The Final Frontier, "As an introduction to Star trek I had the best time working for Greg and in all honesty I wasn’t ready for all the responsibilities he gave me and in many ways I feel I didn’t have the knowledge to perform as good as I wanted to!!!!! but he continued to nurture me on and I am so grateful for that opportunity." [5]

In 1987 he added graphics to his skills set, and started also working as a graphic artist, first as concept/storyboard artist on the movie Nightflyers (1987), as well as on the later television series seaQuest DSV (1993-1995), subsequently as concept artist/illustrator for the Star Trek franchise and the film Virtuosity (1995, with Louise Fletcher, Danny Goldring and the voice of Frank Welker),

After his tenure on Generations, Eaves returned to Grant McCune Design in 1994. He remembered,

"Clark [Shaffer, who worked with Eaves on Generations] and I were originally model makers, with a lot of artwork thrown in for fun. Together we designed and built a lot of models for Grant. After Apogee closed, Grant kept the lease on the model shop and called it Grant McCune Design. While there, Clark and I started working together on Batman Forever. Our assignment: to design and build Arkham Asylum, that nasty place where Jim Carrey's "Riddler" is seen at the story's end.

"After I worked on Generations, the way I approached drawings and sketches changed. Before, I'd draw a three-quarter view, and when time for model construction came, I'd fill in details as needed. When building the model, I had in my mind all the information that wasn't on paper. Thus, if anyone else had to build a model from one of my sketches, they faced a lot of gray areas, a lot of detail that needed to be addressed. Generations taught me that the more sketches I make (especially plans, even rough one), the better they assist those who had to make models from my drawings.

"So when we started working on models for Batman Forever and I had to do the sketches, not only did I do three-quarter drawings for the producer's approval, I did plans too, which I'd never done before. The Arkham model became so large, Clark and I had a whole crew of model makers working with us–and all the plans and drawings wound up being great assets and timesavers."

While Eaves has largely maintained his revised stance for the Star Trek features he later worked on, he somewhat reverted to his earlier way of designing for the television franchise, as he wanted to to have the modelers at the various visual effects houses to have their own creative input in order to finish up on his designs. On at least one occasion, in the case of the Jem'Hadar battle cruiser, that has led to a continuity error. One year later, in 1996, Eaves was invited by Herman Zimmerman to work for Deep Space Nine, to fill the position of Jim Martin, after the latter had left the show, which for Eaves was heart wrenching. He continued, "Illustration has always been my first love, but it was a tough decision, because I also love making models for Grant. After a week of sleepless nights spent trying to decide which path to follow, I said farewell to Grant. And it was back to the ol' drawing board at Paramount..." (Star Trek: The Next Generation Sketchbook: The Movies, p. 79)

As graphic and concept/storyboard artist mostly in the role of production illustrator, Eaves has worked after his Star Trek television career on Sky High (2005, with music by Michael Giacchino), The Santa Clause 3: The Escape Clause (2006, with Michael Dorn), and Evan Almighty (2007), and as illustrator on Ghosts of Mars (2001, with Joanna Cassidy), The Majestic (2001, with David Ogden Stiers and Earl Boen), Flight of the Phoenix (2004), and Pirates of the Caribbean: On Stranger Tides (2011, earning him a second ADG Award nomination the following year).

His television credits as concept artist include the series Bones and Raines, the latter of which starred Linda Park.

Eaves currently lives which his wife, and two of his three daughters in a small town in Wyoming, having recently moved there from his homestate Arizona.

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